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    heatherlew
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    "We left with our minds sufficiently blown and still peaking..."

    We're headed back to that peak with the newly returned tapes from Broome County Veterans Memorial Arena, Binghamton, 11/6/77. The Grateful Dead's last touring show of 1977 finds them going for broke, taking chances on fan favorites like "Jack Straw," "Friend Of The Devil," and "The Music Never Stopped," carving out righteous grooves on a one-of-kind "Scarlet>Fire" and a tremendous "Truckin'." An ultra high energy show, with a first set that rivals the second? Not unheard of, but definitely rare. Hear for yourself...

    DAVE'S PICKS VOLUME 25 features liner notes by Rob Bleetstein, photos by Bob Minkin, and original art by our 2018 Dave's Picks Artist-In-Residence Tim McDonagh. As always, it has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually numbered copies*.

    *Limited to 2 per order. Very limited quantity available.

    Get one before they are gone, gone, gone.

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  • #271
    Thin
    Joined:
    Music's Over, Jerry's reaction
    Seth - Listened to "Music's Over" from Absolutely Live. Great version! Very passionate. Now for that apology: I'm truly very sorry for you that your favorite recording doesn't have more low end. Maybe that's "their sound" and y'all like it, which is great, but its not my bag (and that's OK!). The organ (non-bass), cymbals/snare, and vocals are all very high in the mix and "up front" making the overall sound mid-high. Guitar mid-volume. The "bass" (or simulated bass) is clearly lower in the mix (my EQ reflects this) and of course has the organ sound -"wuf" instead of "bop" - no compression. I'd do anything to hear a real bass at full volume in there, especially in the dynamic part of the jam where the band is "3/3 timing" (11:00~). Actually, it would be nice to hear the bass do ANYTHING more inventive than redundantly repeat the EXACT same pattern over and over... no variation whatsoever! I find it distractingly redundant... A separate bass player would have been a little louder and "present", and would have been able to focus on a little more creativity with the bassline, unlike Manzarek who was distracted with his right hand lead he was playing much of the time. Can you imagine Brent repeating the same 4 bass notes throughout a 15 minute Dark Star so he could focus on the right hand, and saying "Yeah, I'm glad Phil's not here - Brent on bass sounds JUST as good!". I think Jerry's opinion of the Doors was possibly colored by the fact that Morrison stood for everything things Jerry couldn't relate to: self importance, L.A., proclamation of himself as a Lizard King and all the accompanying pantomime, the sex symbol thing, whipping out his dick, the drunk/belligerent screaming persona and all the stories he heard from the guy who had to "handle' Morrison during his boozy aggravated arrests - NOT a guy I could imagine chilling on a couch and shooting the breeze with Jerry. That combined with Jerry's opinion that their live sound was "very brittle sound live, a three piece band with no bass" (and ALL the other stuff he said about their music) left him flat from a musical AND character perspective. deadegad - Thanks for sharing that "The Doors themselves were aware of the 'thinness' issue as other described their live sound. They were planning a more proper tour after LA Woman and wanted to bring Elvis' bassist Jerry Sheff on that tour". I didn't realize that they were planning to finally add a bass player on stage.... that's a tour I would have liked to hear.
  • #272
    reijo29
    Joined:
    Ray Manzarek
    First off Thin, glad you got to listen to that. And I guess I take those shortcomings in lack of full sound as simply being the sound of the Doors. And I do sometimes have an issue with the repetitive simple organ Bass lines. Great point on that. But overall I like it and I think Ray repeats a lot as he is waiting on Jim to do what he does. Perhaps he gives Jim the space and hopes that Jim behaves and keeps somewhat to the structure of the song. I may be biased in liking most of it cause I grew up with it. Mustin- Thanks so much for posting that Ray Manzarek story. It's interesting in getting a taste of the polar opposite dynamic of the LA and San Francisco rock scene. The whole I don’t know whether to call him “Pig” or “Mr. Pen” had me cracking up out loud. It's good to laugh at all this. Sounds like a true Spinal Tap moment the day the Doors encountered the Dead. Both bands seemed to take themselves a bit too seriously that day of the shared bill.
  • #273
    SkullTrip
    Joined:
    Close the Doors
    Can somebody close the fucking Doors already? The stench of self-stroking insecurity is flooding the room.
  • #274
    mustin321
    Joined:
    GD vs. The Doors
    From Ray's book... "The Dead’s support system was enormous. They had huge amps and many roadies, old ladies and groupies and yes-men, personal cooks and gophers and gurus and soundmen and manager types. Consequently, they had no need for normal human intercourse and/or discourse. They were completely insulated. It was a little world of its own and they were perfectly content to remain inside…with you locked out. I never did get to know any of them. I barely talked to any of them. I did try to communicate with their organ player, one “Pig Pen,” but that turned into a complete fiasco. Here’s what happened. The Doors and the Dead are playing together at some outdoor festival–type gig. The Dead are the headliners (it’s early ’67). They have a ****ing wall of amplifiers. It’s like the wall in Fritz Lang’s Destiny. It dwarfs any human standing in front of it. And drum sets, two of them. And guitars everywhere. And…a Vox Continental Organ! Just like mine. Set up stage right. Just where I set up. They have a sound check in the afternoon and it takes forever. They noodle, they fool around, they play out of tune, they try to tune up…but fail…and finally play a song. Vocals are out of harmony, guitars are tuned to some arcane, eccentric mode that each musician has kept as his own private secret, not telling the fellow next to him what the mode is, and the rhythm section is at cross purposes with each other, laying down what seems to be two separate and distinct rock beats that have no relation to each other. In other words, it’s a typical Grateful Dead song/jam. They finish and, to them, everything seems fine. The musicians begin to leave the stage and the roadies lovingly gather up all the guitars. Everything else has to stay exactly where it is. The drums are not allowed to be moved. Pig Pen’s organ must not be moved. Fritz Lang’s wall of Destiny is impossible to move. For our sound check—and performance—John’s drums will have to be set up on the floor, in front of the existing pair of drum risers. No riser for John. The Dead have taken both of them. John’s pissed, as well he should be. I take the opportunity to run up to Pig Pen. I don’t know whether to call him “Pig” or “Mr. Pen.” Mister sounds a bit formal between long-hairs and “Pig” sounds like an insult. I opted for the all-purpose, ubiquitous “man.” “Hey, man,” I say, bounding onto the stage before he retreats into the womblike miasma of Dead sycophants. “I’m the keyboard player with the Doors.” “So?…” He’s slow and unenthusiastic. I extend my hand but he doesn’t take it. Actually, he doesn’t even really see it. His pace is slow. I try to be jolly. “I play a Vox Continental just like yours.” “It can’t be moved,” he says. “I know that.” I smile, hoping to somehow communicate with this fellow musician. “What I want to ask is…instead of bringing my organ onstage and placing it in front of yours…I simply use yours.” “You wanna what?” He is slow. “I want to use your Vox. I play the exact same thing. I’ll just set my piano bass on top of your organ and it’ll all be simple and easy. Nothing has to be moved.” His head starts to shake back and forth. He isn’t liking the idea. But he is understanding the idea. I’m thankful for that. I press on. "If I have to bring my organ up, I’ll have to set it up right in front of yours. I play on the same side of the stage, just like you.” “So…?” “Then there’ll be two Vox organs on stage. One in front of the other. It’ll look ridiculous. People will think, ‘Why are there two identical organs onstage? Why doesn’t the guy from the Doors play the one that’s already there? Why did he have to bring up a duplicate organ?’ You see, man, it’s absurd.” Wrong word. Pig Pen didn’t like that word. His face scrunched up. Absurd was not a word that was used in the Grateful Dead camp. Too revealing. Too pointed. Even too inner-directed. The Doors, at least Jim and Ray, used the word freely. After all, isn’t the post–World War II second half of the twentieth century totally absurd? Do we have to add to the absurdity? Isn’t the whole point of psychedelics to break down the walls of absurdity and reestablish a divine intuition amongst the human species on this good earth? Well, of course it is. And the Grateful Dead is supposed to be psychedelic, but here I am having an absurd conversation with a person called Pig Pen. Man! “Nobody uses the Grateful Dead’s equipment,” he finally said. It was like the Dead party line and he had it well memorized. “I’m not asking to use the Dead’s equipment. I know these amps are all custom built for you guys. We’ll use our own amps. And we’ll use our own drums.” “Damn right you will,” Pig grunted. He was getting testy. “I know every drummer has his own setup. But the Vox organ…it’s generic.” “What…?” “They’re all the same! Yours is just like mine. They’re identical. It would be so clean and easy if I didn’t have to bring mine up.” I gave him my best back-slapping smile of camaraderie. “What do ya say, man? Come on, can I use your organ?” He paused for a couple of beats. Nice dramatic moment, I thought. Then the hammer…“No way, Jack. I told you, no one uses the Grateful Dead’s equipment.” And he turned and lumbered off, into the miasma. I gave his retreating back a peace sign and muttered to myself…“Share and share alike, ehh, brother?” Then more loudly to his rear end girth…“Peace and love, man.” He didn’t even hear me. He was lost in his own little world. His very secure little world. It was an absurd encounter." -- Thanks Mr. Dc for mentioning that. I didn't know about this tale.
  • #275
    Cousins Of The…
    Joined:
    Ray's recollections
    Does seem like the typical opener/headliner dynamics at work. There might be some slight exaggeration in there :-) "guitars are tuned to some arcane, eccentric mode that each musician has kept as his own private secret, not telling the fellow next to him what the mode is..."
  • #276
    LedDed
    Joined:
    Just like Elvis...
    ...Jim Morrison faked his death in Paris. He is alive and well and living in South Africa, or Honduras... or maybe Las Vegas, I hear he's a big fan of the all-you-can-eat buffets.
  • #277
    Vguy72
    Joined:
    My new word of the day....
    ....ABSURD.
  • #278
    LoveJerry
    Joined:
    Weeeehooooo
    I've been listening to road trips Austin 1971 November 15th getting ready for Dave's picks 26. The Sound quality is really really good. I have not listen to this in a long time. And the set list is really really good. I hope Dave's picks 26 sounds this good.
  • #279
    Mr.Dc
    Joined:
    The Doors and Jerry's comments
    From what I understand, Jerry was commenting on how the doors sounded in 1966 or very early 67. At that time, the Doors had cheaper equipment and did alot more covers. Weird to see Jerry slam another group of musicians in such a harsh and dismissive way, especially if it was just based off a couple early shows he saw before they had even really become the Doors we all know and had their sound dialed in. There is the story of Ray Manzerek and Pigpen having a heated exchange over the use of some keyboards during a show in which they were both billed, I think that indident could actually be one of the main reasons Jerry had such hard feelings towards them. I personally really enjoy quite a few of the Door's available live recordings, and I don't seem to find their sound to be nearly as "thin" as most people do. Maybe that thin sound, just sounds to me like how the Doors are supposed to sound.
  • #280
    Thin
    Joined:
    Rejoi29 re bass
    Thanks Rejoi29 - I'll check it out. Maybe the first album had no bass player? Who knows. From Rolling Stone: "The Doors famously lacked a bassist during live sets, instead relying on Ray Manzarek's Fender Rhodes' keyboard bass to lock into the rhythm with Densmore. For their studio albums, the band quietly supplemented their core lineup with session pros handling the low end. Some of these contributions were overdubbed separately from the band, but for L.A. Woman, they wanted the live sound of musicians playing together. Botnick suggested Jerry Scheff, fresh from backing Elvis Presley at Las Vegas' International Hotel. Morrison, a massive Presley fan, was thrilled. So was Densmore. " Again, I love the Doors. Always have - listened to them a TON in high school (very high...). I just never dug their live stuff - was always disappointed when I tracked down the DATs... similar to Jerry's "I can't put my finger on it but it didn't grab me".... It was when I heard that other band a few months ago and started talking to the B3 player about how (and why) he likes having a string bass on stage that it clicked - that's why I brought it up.
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Submitted by heatherlew on
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"We left with our minds sufficiently blown and still peaking..."

We're headed back to that peak with the newly returned tapes from Broome County Veterans Memorial Arena, Binghamton, 11/6/77. The Grateful Dead's last touring show of 1977 finds them going for broke, taking chances on fan favorites like "Jack Straw," "Friend Of The Devil," and "The Music Never Stopped," carving out righteous grooves on a one-of-kind "Scarlet>Fire" and a tremendous "Truckin'." An ultra high energy show, with a first set that rivals the second? Not unheard of, but definitely rare. Hear for yourself...

DAVE'S PICKS VOLUME 25 features liner notes by Rob Bleetstein, photos by Bob Minkin, and original art by our 2018 Dave's Picks Artist-In-Residence Tim McDonagh. As always, it has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually numbered copies*.

*Limited to 2 per order. Very limited quantity available.

Get one before they are gone, gone, gone.

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Submitted by mustin321 on Fri, 01/19/2018 - 10:42

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I can't wait to hear Dave's Picks 25...when is this gonna go on sale?
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Submitted by SkullTrip on Fri, 01/19/2018 - 10:42

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Damn! That is a hard stop. I rarely listen past '78 myself, except for the occasional '89 or '90 show (Sorry, gang -- Brent still hurts my ears even after all these years). But drawing the line at the end of the E72 tour? 'Tis a bit flummoxing.
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Submitted by mustin321 on Fri, 01/19/2018 - 10:51

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I'm not an Irish bug...
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Submitted by evilyn2003@hot… on Fri, 01/19/2018 - 10:58

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First off, I could not agree with KeithFan2112 any more: The Waterbury, CT 9/24/72 gig from the 30 Trips Boxset is an absolute gem and Garcia throws down some of the most explosive leads of his career! I believe that show is SO unbelievably mind blowing that I seriously consider the price of the WHOLE boxset worth it just for that show (of course thankfully it's filled with many other killer shows as well, especially the always classic Cape Cod gig from 10/27/79). The "Dark Star" from 9/24/72 is simply astounding and the show as a whole rivals ANY previously released show from the amazing month of September '72 (in my humble opinion). It is a show I did NOT have prior to 30 Trips and I am still in awe that a show of that level had previously existed in relative obscurity. However, the main thing I wanted to bring up is how fortunate the accidents of history can some times be. This pertains to the fact that until recently the soon to arrive Dave's Picks 25, the absolute monster rock-a-thon that is Binghamton, NY 11/6/77, was NOT in the vault. I am a rabid fan of 11/6/77 and I remember when Dick's Picks Vol. 34 was released (featuring the gig from the night before in Rochester, NY 11/5/77) I was truly kind of pissed off! It was like what the fuck? Why was this Rochester show chosen over Binghamton? Being much younger I was unaware that the masters for the 11/6 Binghamton show I'd loved so much (via my CDRs) was NOT in the Vault. In the end however, this was a HUGE stroke of luck for me, as HAD 11/6 been available and released as Dick's Vol. 34, I may have (though I doubt it, but one never knows for sure) somehow overlooked 11/5/77 in Rochester, a gig which over the years I've grown to greatly cherish (to basically an equal extent as 11/6 in Binghamton). Both shows are simply phenomenal! Like Dave brought up in his video intro for Dave's Vol. 25, had 11/6 been in the Vault years ago, there would have been all the makings for quite a ferocious boxset! Personally I'd start it with 11/1 at Cobo Hall in Detroit (just a fantastic gig and start to Nov. '77), then include the 11/2 Seneca College gig in Toronto (which is nearly complete if you own Dick's 34 and Dave's 12), and the already released 11/4 Colgate University-Hamilton, NY (Dave's 12), 11/5 Rochester, NY (Dicks Vol. 34), and the soon to be released Dave's Picks 25 featuring the blisteringly beautiful performance in Binghamton, NY from 11/6/77. Wow, what a boxset those 5 shows would've made!!!! I look forward to this November and listening to each show on the appropriate date! But again I go back to the bizarre vagaries of history. The quite well-known 11/6 Binghamton tapes weren't in the Vault, so the folks in charge wisely chose the slightly lesser known gig from the night before in Rochester (and tossed in a nice chunk of the 11/2 show from Toronto). Dick's Picks 34 is probably second ONLY to Dick's Picks Vol. 10 (one of my Top 10 favorite shows of all-time: the lysergic, powder-power that is "The Nine", 12/29/77 at Winterland) as my favorite Dick's Pick from 1977 (which is saying a lot when one considers the majesty present on Dick's Picks 29 particularly, but also found on Dick's Volumes 3 and 15). So the lack of tapes for 11/6 allowed me to be introduced to 11/5 in Rochester, a different (but in many great ways VERY similar) show which I at the time did not have a copy of. A show which I absolutely adore and listen to EVERY 11/5, just as I do with 11/6 in Binghamton. It's great that the imaginary boxset discussed above will now (with the exception of 11/1/77 in Detroit, a show which is certainly available with a bit of exploration or through the kind favor of a friend) be virtually complete (with the upcoming release of Dave's Picks Vol. 25, of course). It was well worth the wait and I'm glad that Binghamton's unavailability at the time may have played a role in introducing me (and likely many others) to another show that exhibits its own similar brand of magic sparks: 11/5 in Rochester (aka Dick's Picks 34)! Keep up the GREAT work Mr. Lemieux and Co., I'm super excited to retire my 11/6 Binghamton CDRs in favor of what I'm sure will be (as always) a major league upgrade! Thanks for bringing these amazing recordings back to life and to all who have a hand in making them available! Also for presenting them in the respectful manner they deserve... I am an obsessive heavy metal and hardcore punk (of the 70's-80's), as well as prog/post-psych/Krautrock/acid jazz (of the late-60's & 70's) collector who just happens to believe the Grateful Dead were the single greatest vessels of rock 'n' roll expression the human species has yet produced. I am not deifying them as individuals but rather crediting them for their efforts in their particular corner of time and space. They are the one rock 'n' roll group whom I feel transcend all genres, as their "genre" is the sound of their (and our) existence in all its emotive range. From a historical perspective they entered their time and fulfilled a tremendous task simply by a constant yearning for experience, a sufficient degree of musical skill and just enough ambition to steadily improve and grow, and a intense desire to be themselves and have fun while avoiding (to the extent reasonably possible) the pitfalls of ego caused by success. For me, and many others, they shall forever remain the most fascinating musical (or if you wish to be broad: artistic) phenomena of 20th Century American culture. P.S.: IF you're ever running short on ideas for DP releases (haha), it'd be amazing to have 7/18/72 restored, the intensity of 8/12/72 from Sacramento, 10/25/73 in Madison, WI, 6/23/74-Miami, 7/25/74-Chicago (a endlessly fascinating gig which has flown far too long beneath the average fan's radar), and the epic 9/11/74 final London Alexandra Palace gig in its entirety. A collection dealing strictly with Ned Lagin and "Seastones" would also be rad! Just a few suggestions, lord knows you don't get enough already I'm sure! Best of luck and best wishes...
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Submitted by evilyn2003@hot… on Fri, 01/19/2018 - 11:06

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I have two balls and since I'm left handed I guess I'm a bit more partial to my left nut...Makes sense doesn't it?
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Submitted by icecrmcnkd on Fri, 01/19/2018 - 11:53

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One should hang lower than the other.A psychologist I know claims that the side that hangs lower indicates that the opposite sided brain lobe is the dominant lobe. Quackery? Sounds like it to me. But what do I know, I rub ice cream on my forehead. On the other hand (nut), you’d be amazed at the clairvoyance one can obtain by rubbing ice cream on one’s head.
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Submitted by dissident1980 on Fri, 01/19/2018 - 12:00

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It went on sale ... and it sold out.
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Submitted by simonrob on Fri, 01/19/2018 - 12:02

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My asian friend Wun Hung Loh thinks someone is taking the piss here.
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Submitted by mustin321 on Fri, 01/19/2018 - 12:11

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Does anyone know where to find a time machine? ...McFly?
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Submitted by Sixtus_ on Fri, 01/19/2018 - 12:21

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Talk with JimInMD...his wayback machine is currently set to 2/14/68 I believe, but it can go anywhen. If that is in use, try the flying mower with magical time travelling cartridges. Pick me up on the way please. Sixtus
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Submitted by SkullTrip on Fri, 01/19/2018 - 12:52

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You may not be, but (ironically) I am.
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Submitted by DinaMoe on Fri, 01/19/2018 - 13:17

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I can still remember my first listen of this show. Jerry Moore audience. Mind-blowing performance aside, I remember not getting over how hopped-up the audience was for this entire show. And we all know how much an act like The GD fed off of a crowd like this one! Bobby even throws out a "you're a good audience" just before the encore. I don't recall another show where that was acknowledged. How about the roar of the crowd at "vitamin C 'n cocaine" and Garcia responding with a wicked lick? Fuckin' Binghamton. :-)
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Submitted by 80sfan on Fri, 01/19/2018 - 13:48

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Back home after traveling to a funeral for a family friend (looks like I missed a lot of good chat)! Hope everyone out there is doing something right this minute that makes them happy. Life is too short for anything else. My plans tonight are to drink red wine, hang out with my family...and of course honor the dead by playing dead. have a great weekend everyone -
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Submitted by JimInMD on Fri, 01/19/2018 - 15:36

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80sfan.. I'll be right there, what exit should I take?
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Submitted by stoltzfus on Fri, 01/19/2018 - 16:11

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I work as a teacher in special education. Some surly kids, even in elementary school. NO. NO. NO. Well, I don't wanna work. hmph. must...complete...week...
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Submitted by KeithFan2112 on Fri, 01/19/2018 - 16:23

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I love this attitude from evilynn2003 (and I quote) "I believe that show is SO unbelievably mind blowing that I seriously consider the price of the WHOLE boxset worth it just for that show" Exactly how I felt about the Lindley Meadows 1975 show when I bought the box (although I have to admit, I was pretty stoked for '68 / '69 at the Greek and Dream Bowl). But yeah, I really do love that 1975 performance. Something weird was going on with their sound (I heard they had someone else's amps / rig due to their shit blowing up); but it sounded tremendous. The tone of it all sounds more like 1971 than 11 months post Wall Of Sound. Jerry's guitar is so distorted and fuzzy and loud - truly a one of a kind show recording. My only regret is that Franklin's Tower was separated from Help / Slipknot! but that's what home PC computer editing software is for. On my digital copy, the three are nicely married. I guess I'm also a little sad they didn't play longer, and maybe throw in an Eyes of the World, but we're fine, everything's fine here.. now...how are you? Sixtus, yeah lol, that's exactly how it looks. Then if you're not lucky enough to catch it and you get a roller, that 2 or 3 seconds when you don't know if it will land playing-surface up or down feels like an eternity. We've all done it right?
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Submitted by David Duryea on Fri, 01/19/2018 - 16:28

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"Hope everyone out there is doing something right this minute that makes them happy. " In AG Jeff Sessions' view I'm doing something wrong this minute and it makes me very happy.
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Submitted by icecrmcnkd on Fri, 01/19/2018 - 17:14

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There is a uniqueness that comes with the songs not being together. Please don’t tell me you rearranged 10-9-76 too. As for CD-R backups, the first time I listened to Road Trips 74 Wall of Sound I dropped one of the CDs taking it out of the player and scratched it. I then made the decision to make CD-R copies of all the releases and store the originals.
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Submitted by stoltzfus on Fri, 01/19/2018 - 18:03

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so good. I remember hearing it the way home from 7/19/87. it glowed. ;)
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Submitted by David Duryea on Fri, 01/19/2018 - 18:48

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http://www.dead.net/features/jam-week/january-19-january-25-2018?intcmp… Fillmore Auditorium 11/7/69 Dark Star -> Uncle John’s Band Jam -> Dark Star -> That’s It For The Other One -> Turn On Your Lovelight The whole show is available at the midnight cafe. https://themidnightcafe.org/2016/02/11/lossless-bootleg-bonanza-gratefu… Grateful Dead November 7, 1969 Fillmore Auditorium San Francisco, CA Download: FLAC/MP3 Recording Info: SBD -> Master Reel -> Dat This is a tagged version of shnid: 119628 Transfer Info: Dat -> Samplitude Professional v11.2 -> FLAC (2 Discs Audio / 1 DVD FLAC) All Transfers and Mastering By Charlie Miller charliemiller87@earthlink.net March 27, 2012 Notes: — Disc change is seamless — There are reel flips in High Time and UJB Jam — There are no pauses, cuts or edits between songs — iZotope Ozone was used to de-click the Master Reels –Setlist– 101-d1t01 – Morning Dew 102-d1t02 – Hard To Handle 103-d1t03 – Casey Jones 104-d1t04 – Mama Tried 105-d1t05 – Me & My Uncle 106-d1t06 – Tuning Ditties 107-d1t07 – Cold Rain & Snow 108-d1t08 – Next Time You See Me 109-d1t09 – High Time 110-d1t10 – Good Lovin’ 111-d1t11 – China Cat Sunflower -> 112-d1t12 – I Know You Rider 113-d2t01 – Dark Star -> 114-d2t02 – Uncle John’s Band Jam -> 115-d2t03 – Dark Star -> 116-d2t04 – That’s It For The Other One -> 117-d2t05 – Turn On Your Lovelight Two hour and 25 minute show. Definitely deserving of a Full Norman!
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Submitted by Birchwood on Fri, 01/19/2018 - 20:30

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Thanks very much for posting this cool show, in such great quality. Enjoying it immediately! Immensely! Really good. Thanks to Misters Dureya and Miller. Good on ya!
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Submitted by jackstrawberry on Fri, 01/19/2018 - 20:51

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Thanks icecrmcnkd. Unforutanately, I think DP 32 is the poorest quality recording I have heard in the Dick's Picks series. So poor foe me that I decided not to buy a copy of it. It would be a treat to hear a high quality dynamic recording of one good 1982 show from Dave's Picks. Dave has much better technology to transfer and clean up these recordings than Dick had available to him.
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Submitted by jackstrawberry on Fri, 01/19/2018 - 21:15

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In my reply to someone else, I provided the same feeling as you regarding the Alpine 1982 Dicks Picks. I agree that all years have good shows. I own shows from many different years and really love them. To me the performances in many of the 1982 shows are tremendous and many of my favorites. I'm curious how many deadheads have heard the 1982 shows because there have been almost no high-quality releases from that year?
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Submitted by jackstrawberry on Fri, 01/19/2018 - 21:15

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In my reply to someone else, I provided the same feeling as you regarding the Alpine 1982 Dicks Picks. I agree that all years have good shows. I own shows from many different years and really love them. To me the performances in many of the 1982 shows are tremendous and many of my favorites. I'm curious how many deadheads have heard the 1982 shows because there have been almost no high-quality releases from that year?
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Submitted by jackstrawberry on Fri, 01/19/2018 - 21:35

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Thanks for the reply claney. I played the shit out of my April 6 1982 Philly show back in the 1980s and 1990s. I know I have mulitple tape copies of that show so that I had a back=up in case the tape broke. Years ago, the Road Trips 4.4 CD sold out before I bought a copy. Currently, the digital download is not available. Garcia later
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Submitted by Vguy72 on Fri, 01/19/2018 - 21:39

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....sounds pretty good to me. In fact, a lot of my tapes still sound good (except when it's in Dolby. Not a fan). I guess not being so picky is an advantage at times. Just Play Dead....
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Submitted by JimInMD on Fri, 01/19/2018 - 22:04

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What a scam.. I think Dolby even flucks up the remastering process. But what do I know.. except that dolby mucked up lots of what would have been great audience tapes (and perhaps a few soundboards). I bet it works just fine if all the equipment used through every step of the process is perfectly encoded using the exact same version of Dolby.. but so many years later, what are the chances that something is poorly labeled and some machine uses the wrong Dolby version (or none at all when it should have been used). Keep it simple.. right? The tapes I had that were recorded using dolby usually did not sound great by the time they got to me. On the bright side, bad dolby usage gave us the chipmunks. I am a fan of the good shows from 82. I think its an under-rated year and the inconsistency of the recording quality decades later is a big part of the perception mismatch. It was perhaps the last year Jerry's voice, on a good night, sounded 'fresh' or young. Frost, Alpine, so many others.. in total.. it was a mighty fine year.
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Submitted by icecrmcnkd on Fri, 01/19/2018 - 22:33

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Many new Miller/Clugston/Gans/Eaton’s uploaded to entree in the last 3 days.My dedicated torrent computer will be working hard while I sleep.
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Submitted by libertycaps97211 on Fri, 01/19/2018 - 22:38

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Yeah, it's sourced from cassette, but i think DiP 24 is worse. Prolly the only one in the series that i think should not have been retail released. The performance is sub-par too, imho. Not every swing can be a home run...or a base hit in some cases. I can envision a day when some DiPs get re-released with the Full Norman treatment and/or properly bias & speed corrected. But not a high priority. Def a back burner until all the amazing returned Bettys get out, of course!
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Submitted by jackstrawberry on Fri, 01/19/2018 - 22:44

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Thanks for the reply claney. I played the shit out of my April 6 1982 Philly show back in the 1980s and 1990s. I know I have mulitple tape copies of that show so that I had a back=up in case the tape broke. Years ago, the Road Trips 4.4 CD sold out before I bought a copy. Currently, the digital download is not available. Garcia later
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Submitted by Vguy72 on Fri, 01/19/2018 - 22:44

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....you can do better than that. How about, "not every release can be a hat trick." More our style, right? Go Golden Knights....
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Submitted by jackstrawberry on Fri, 01/19/2018 - 22:50

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Thanks for the info Liberty. I lost the comment I was going to post and inadvertently reposted a previous comment. Sorry, I could not find 10-10-82 on archive.org. So I am playing 10-9-82 Frost show. I had this tape somewhere... I love Throwing Stones. Really enjoying it. Not sure I have heard this on any Dave's releases? Have not heard it in very long time...
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Submitted by jackstrawberry on Fri, 01/19/2018 - 22:51

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Thanks for the info Liberty. I lost the comment I was going to post and inadvertently reposted a previous comment. Sorry, I could not find 10-10-82 on archive.org. So I am playing 10-9-82 Frost show. I had this tape somewhere... I love Throwing Stones. Really enjoying it. Not sure I have heard this on any Dave's releases? Have not heard it in very long time...
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Submitted by Vguy72 on Fri, 01/19/2018 - 23:07

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....no complaints here. Solid. They ended the first set with China->Rider quite a bit that year. I'm a fan of that. Caddyshack is almost the perfect movie. I don't know where that came from.
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Submitted by jackstrawberry on Fri, 01/19/2018 - 23:14

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Wow! They released someting that sounds worse than DP 32?!LOL. Seems Dick had good memories of that show and was maybe more concerned about perfomance regardless of the recording quality. There are probably 2000+ recordings to pick from. Because the selection is overwhelming, I assume he was just anxious to release the best tape out of a few of tapes he pulled from the vault each time, but I ti=hink he was still searching for particular shows that he had fond memories of. Who was the recording engineer in 1982? Dan Healy?
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Submitted by jackstrawberry on Fri, 01/19/2018 - 23:26

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Where did you stream 10-10-82 frost from? I could not find it. I recommend listening to 10-9-82 Frost. Listening to it now. really enjoying "Throwing Stones" and "Space"!!
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Submitted by jackstrawberry on Fri, 01/19/2018 - 23:35

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Caddyshack is my of my favorite movies? I'll take some of those naked-lady tees...
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Submitted by jackstrawberry on Sat, 01/20/2018 - 00:09

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Thanks for info mbarilla. Check out the Greek Theatre 5-22-82. Phenomonal song selection, guitar playing and sound by Jerry on this recording. Very upbeat tempo. One of my fav tapes ever!!. Wish this was Dave pick 26!!
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Submitted by snafu on Sat, 01/20/2018 - 00:20

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You are right. The only way dolby worked right was for the same machine to be used in recording and playback. Early on I went to an independent dbx nr machine found it worked a lot better
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Submitted by snafu on Sat, 01/20/2018 - 00:30

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I have mentioned this before but while it may well be sentiment creeping in I saw every bay area show from late 70's 'til the end and there was something special about the greek shows and the tapes I have seem to bare this out. The 84 ones if memories are correct (It's been a while the downside of so many releases haha) were especially fine
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Submitted by SpanishJam on Sat, 01/20/2018 - 04:08

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Thanks for the good discussion on the returned tapes. Got me thinking about DaP16 and DaP21. Didn't Dave say they considered releasing 4/2/73 earlier but for one reason or another it didn't happen? I seem to recall that it was considered for release instead of 3/28/73 (maybe even earlier)? I went back to the seaside chat for DaP21 and it wasn't mentioned there. Maybe I caught it on Sirius around release date? I thought the tipping point for 3/28 over 4/2 was the Dark Star. I guess I'm brining this up to get a feel for when the tapes (at least some of them) started rolling back. DaP16 was released on Nov 1, 2015. So if that tape wasn't in the Vault then it would have been returned closer to summer 2015 (or earlier). I'm having a hard time putting my finger on some of these details (haven't gone back to the liner notes yet), but if memory serves 4/2 was also highly regarded by Dick and he mentioned several of the tunes (particularly in the first set) were definitive versions for the year/era. Dick certainly could have been listening to non-Vault soundboards, but are we sure that 4/2/73 hasn't been in the Vault for a while? To my ears the sound quality of DaP21 is better (slightly) than DaP16. Regardless, it's pretty awesome that we have such high quality shows available with great sound quality. Dave and Co are doing a great job; thank you! And would love to see 8/7/1972 and 8/12/1972 released. Edit: I meant 7/18/1972 not 8/7/1972. Oops. Roosevelt Rules!
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Submitted by JimInMD on Sat, 01/20/2018 - 07:07

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"they considered releasing 4/2/73 earlier but for one reason or another it didn't happen.." Couldn't one of the reasons be that the masters were not in the vault (but the performance was certainly release worthy)? Also, I seem to recall some of these getting released perhaps before they had the masters in the vault. Maybe I am wrong.. For instance, what about Dave's Picks 14? But there is an older one where conversations evolved about the origin of the source file used for release. Again, perhaps I have this wrong.. but this topic has come up. Perhaps someone out there has a better memory than I.
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Submitted by alvarhanso on Sat, 01/20/2018 - 07:06

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Dave's 21 was definitely part of the returned tapes, Dave's 16 was not, one big distinction between them is that Kidd Candelario recorded 3/28, and Rex Jackson recorded 4/2 (on 10" reels, this being the firsttime I recall seeing a mention of a show recorded on 10" instead of 7" reels). Kidd may have been recording 4/2 as well, and Betty and/or Rex may have been recording as well. From what Dave has said on Kidd's role in recording, I believe most of his tapes were in the Vault as he was recording the shows for the band, where the Jacksons may have recorded some for the band, some for themselves. We know Betty did her own recordings, but that she also worked for the band on recordings, so some of her tapes aren't the reference tapes the band would have used. But this brings me to the most fascinating part of the whole ABCD/returned "Bettys" discussion: Dave's 24 was recorded by Bear, not Betty or Rex, yet was also part of the ABCD collection, and already we have nearly 3 Rex recordings as part of that collection Dave's 21, 22 and bonus, and 2 more are likely to be Rex recordings in Dave's 26 and bonus. Why Rex tapes are in the collection makes perfect sense as he was married to Betty. But why did she have a Bear tape? And did she have more of his tapes in her collection that was returned with the ABCD deal? They were astonished to get over 100 shows returned, the list of Bettys that circulated in the "What Happened to the Bettys" article wasn't nearly that many shows, so clearly they got shows they didn't expect because there are times she was known to have recorded and times she was known not to have recorded, but if you add in Rex tapes when she wasn't on tour, you get Fall 1971, Spring 1973 tapes popping up. Now add in the wildcard of what kind of Bear tapes did she have?! The guys clamoring for more 80s and 90s will be pissed at the possible treasures that will necessitate pushing 80s and 90s Picks down the road to put out legendary shows or under the radar gems that never attained a reputation due to lack of circulation. I think the compromise will be a small 80s box each year while these Bettys, Rexes, and Bears are used for Picks. I think that's a great compromise, because then the 80s and 90s choices can be multitrack and more listenable than a PA mix.
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